review

MOAH Exhibit Review of It Takes a Village – Distant Memories

Posted by RichardSChow in exhibits, Gallery, review
Very honored to have received a review of my Exhibit of “Distant Memories” at the Lancaster Museum of Art and History, MOAH –  IT TAKES A VILLAGE.
The opening was well attended and thank you to each of my old/new friends who visited.

“Richard Chow’s “Distant Memories”, is a lovely black and white series that takes us from the village to the sea. Capturing elegiac images of a childhood he could’ve experienced on Southern California beaches, but as an immigrant, did not; he’s collected a beautiful series of images into wall installations. Viewed at a remove through pier telescopes and long lenses, Chow lets us view just glimpses of wonder, a personal window into community, family, and love. Subjects from the Manhattan Beach Pier to body-boarders in the surf framed by the shade of a beach umbrella cumulatively shape and recreate an ephemeral time and place that never quite was, but always will be.”

Click here for the entire review. Thanks to Genie Davis and Art and Cake.

 

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16 Mar 2018 no comments / READ MORE

Art Review – Richard’s Solo Convergent Evolution

Posted by RichardSChow in curator, exhibits, Gallery, Photo, review

Hello Friends!

Very pleased and honored to receive another art review on my Solo Exhibit “Convergent Evolution”, which took place at the infamous Neutra Institute Museum Gallery at Silver Lake, California. Exhibit ran from Aug 29 to Sept 17.

Please take a read… below. Click here to go the Joseph Hazani’s adilettante.com, Thank you!

 

TRANSCENDING ARCHITECTURE W/RICHARD CHOW @ NEUTRA

Richard Chow’s latest opening was a phenomenal chance to see his evolution as an artist, toward his current status of invoking in a Promethean manner new structural conceptions. He was able to do so in a sublime manner of capturing realistic geometries but through photographic magic birthed a dreamy, almost Platonically-inspired, form of the triangle with his Into the Light | Windows. It is a great service to articulating what art ought to be. In simple terms, it is this.

It is taking a rubber eraser around the pencil-thinned lines of human limitations to experience, which are treated as industrially cemented walled bricks, and providing to the subject a gentle entryway through the odiousness of the subjects’ natural constraints to their everyday peripheries. This sacred portal may or may not create a moment of awe – the greatest works of art tick that box – but they universally expand the horizon of human finitude.

Irrespective of the multitude of creative expressions that can accomplish this task, the Mr. Chow has approached it through architecture. And perhaps architecture is an overlooked constraint on being human – our habitat literally shapes us and so to confront us with it in an artistic manner is welcoming. But what he accomplishes in his work in general is this profoundness in the geometries that bind us.

Mr. Chow almost brutishly forges his, for lack of better phrase, sacred geometrical triangles with the aforementioned Into the Light | Windows, and this is understandable given his artistic instrument of the camera. This forcefulness gives his newly presented works an air of bravado in the wake of the act of creation. Not the creation of an artwork, but more: the creation of a new geometrical element for the mind to conceive of. A genuine artistic accomplishment.

 

01 Oct 2017 no comments / READ MORE

Art Review – on Richard’s Solo “Convergent Evolution” by Diversions LA

Posted by RichardSChow in exhibits, Gallery, Photo, review

Hello Friends!

Very pleased and honored to receive another art review on my Solo Exhibit “Convergent Evolution”, which took place at the infamous Neutra Institute Museum Gallery at Silver Lake, California. Exhibit ran from Aug 29 to Sept 17.

Please take a read… below. Link here to go the DIVERSIONSLA, Thank you!

 

Get ready to evolve. Convergent Evolution, a solo show by photographic artist Richard Chow at the Neutra Gallery in Silver Lake is a beautifully evocative mix of black and white images and a vivid color palette that show a wide and evolutionary range of Chow’s work.

Exhibiting images from radically divergent bodies of work, Chow takes bold risks in presenting disparate images that transcend beauty or social commentary, stimulating, challenging, and engaging the viewer in dialogue with the art.

Curated by Dulce Stein along with Chow,  the work here features predominantly black and white images, making the vibrant full color photographs in Chow’s “URBANSCAPE” series a striking focal point.

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“A New Angle,” above, is a strong example the artist’s exploration of how color and form can be reimagined within the construct of the urban landscape. Bold use of color is an essential component here, and it seems as if Chow is painting with his camera, using his surroundings as a palate.  The intense colors and tight compositions that are characteristic of this series create compelling, dynamic images with an abstract modern aesthetic.

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In sharp contrast, images from Chow’s more recently developed body of work, “Distant Memories,” are an ethereal black and white, crafted by inserting secondary lenses between the subject matter and the camera.  In the series, the artist acts as curator of visual memories, questioning how they influence our individual humanity. Although the images, like the recollections they depict, are softy diffused and rely heavily on the use of light to convey emotion, the compositions are classic and strong.

“Memories,” Chow says, “are the result of a subconscious sifting through life experiences filtered through our emotional response. This process leaves them fragmented, somewhat indistinct.” The works, set against backdrops that are fertile ground for memories, explore subject matter that spans the emotional spectrum, triggering the viewer’s own memories.

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Chow’s most recent body of work, “Into the Light,” returns to his architectural roots, but features black and white photography. These images, frequently larger in scale and devoid of color, allow the artist to plumb the depths of light, form, and function, exploring the urban landscape in relationship to those who inhabit it. While the series shares subject matter with its architecturally based predecessor, “URBANSCAPE,” here the photographer uses light, not color, to convey tone, atmosphere, and context – resulting in compelling images with an abstract modern aesthetic. No less vibrant and engaging for the absence of color, these images show Chow’s  progression as an artist, the works becoming more experimental in nature. Chow makes extensive use of geometry to add structure and organization to images that are more abstract than his earlier works. These compositional techniques allow him to quite literally lead viewers into the light.

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The exhibition closes Sunday, so add it to your weekend list. The Neutra is located at 2379 Glendale Blvd. in Silver Lake.

  • Lisa Broadway with Genie Davis; photos courtesy of artist

 

 

 

 

01 Oct 2017 no comments / READ MORE

Exhibit Review – on Richard’s Solo at Gallery 417, DTLA

Posted by RichardSChow in curator, exhibits, Gallery, Photo, review

 

A tremendous thank-you to Mr. Joseph Hazani for this artful and insightful review on my Solo Exhibit at the 417 Gallery at Metro 417 in Downtown Los Angeles. This gives me encouragement to continue with my work and to explore new territories.

Actual review can be found here. I’d recommend you to follow Joseph as he reviews all forms of art including performances. He is also an acclaimed author and please check out his work at http://adilettante.com

 

May 27, 2017 

The beautiful thing about Richard Chow’s photographic art is that it makes such a perennial, concerted effort, to reveal to us the beauty that’s missing in our lives. He could be one of those exciting photographers which act as a continuum with the Classics in rendering a reality that is stunningly gorgeous, to unleash his imagination of what reality can possibly be, impregnating the human imagination thereby expanding the realm of possibility. But Mr. Chow performs a much more serious and challenging task: finding the beauty in the life we are given.

He continues with this raison d’etre in his URBANSCAPE artwork. Not satisfied with the ornamentation of color in architecture as he was before, he challenges himself further in reducing the perfunctory, the quotidian, the downright ignored around us, to reveal majestic geometries that could not otherwise be perceived unless we took the painstaking time to search for them. Mr. Chow does this charitable work for us, foraging around the city of Los Angeles, turning over architectural stones to reveal hidden gems abound.

And by gems, we mean objects of beauty we could not possibly apprehend unless it was filtered and titrated by the laboratory scientist that is Mr. Chow. His distillation takes ho-hum federal buildings and turns them into points of intrigue. Imagine that: the most blasé, bromidic, and brutish architecture can be not simply re-imagined but reborn to gives us an awe of wonder and henceforth gratitude for there being such beauty in even the most frankly ugly representations of bureaucratic girth. This successful artisanal effort must be praised.

And it’s actually paradoxical, then, that Mr. Chow is at his weakest when he captures the most architecturally inspiring work of Frank Gehry’s Disney Concert Hall. It isn’t that his work and its magisterial demonstration of contour, concentrated in such an exceptional minimalist format, is not provocative. But the fact that Mr. Gehry’s genius is so domineering makes it impassably consistent with Mr. Chow’s vision; we immediately know what building this is, because that is just how resplendent the Concert Hall is, thereby distracting us from concentrating on its aesthetic reduction. Beauty cannot be distilled because it is already there in its elemental form.

Speaking of contour, and of lines and of geometries, this is the technical epicenter of Mr. Chow’s work. We can hand-wave about the beauty that is shown, but full articulation is necessary. And it is that these photographs are beautiful because they give a sufficiency, a completeness and uniformity, to the man-made forms. It is all too easy for us to conduct a sense of awe when we look at the effortless beauty found in nature. When we look to our own man-made creations, there is an expectation that the effort cannot match the designs of natural phenomena.

The human being is too imperfect a creature to match it. Thus, to perceive such raw rationality in form, such overt intelligibility in the design due to the active hand of the use of reason in materializing a creation, is wondrous. These harmonies in lines and shapes with their modest completeness are inconceivable to be found as children born by Mother Earth. She enjoys almost scattered splashes of order which incidentally appear to us as magnificent. In a sense, then, Mr. Chow is capturing for us a plan of action that went accordingly! A marvel indeed for humanity! And above all else, a sense of appreciation of what mankind can potentially create. To commend mankind’s ability to create is just as fundamental to this terrific series. For it is indeed vital to be reminded how precious a gift it is.

417 Gallery

Solo Exhibit at 417 Gallery

 

20 Aug 2017 no comments / READ MORE

2016 IPA International Photography Awards – 4 awards

Posted by RichardSChow in Competition, exhibits, Photo, review

 

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Very Appreciative to receive 4 Honorable Mention awards  on my two series.

Urbanscape BW - Architecture, Categories of a)Cityscape,  b)Buildings, c)Architecture

Distant Memories – Special Category

Thank you IPA and the 114 judges for this year’s competition. 

See the entire series here.

 

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   The entries for Urbanscape 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Distant Memories series

 

 

 

 

 

 

 

The entries for Distant Memories series

 

 

 

 

 

 

19 Oct 2016 no comments / READ MORE

Solo exhibit review by Joseph Hazani, Art Critic and Podcast host

Posted by RichardSChow in curator, exhibits, Gallery, review

 

Hello all:

I am grateful to receive a solo-exhibit review and very glad to have met Joseph Hazani on opening night, thank you Joseph!

The solo exhibit entitled Distant Memories, the same name as the fine art series, was held at The Gallery Presents (Phantom Gallery) in Hawthorne, California. The exhibit was shown from March to June 2016, and curated by Duce Stein.

It was also a featured event, by Lucie Foundation’s MOPLA, Month of Photography LA.

 

Solo Exhibit Review

by

Joseph Hazani

(Art Critic, Podcast Host on Fine Arts/Photography)

Distant Memories by Richard S Chow

Distant Memories is a completely new and evolutionary ensemble by the award-winning photographer Richard S Chow. He is known most prominently for his ability to photograph color, whereas here he escapes pigmentation completely, opting for black and white glances at everyday life. The choice to abstain from filling his compositions with color accentuates his evolution of a photographer toward creating compelling narrative within the frames. He, in other words, does not want the viewer to be distracted by the natural visceral beauty which can be accidentally stunning when he snaps his camera. Instead, he wants us to concentrate on the humanity on display.

There are probably two dozen or so of these frames that were aligned linearly, as is commonly found in family homes which roll-out the family members and the ancestry of the residents. Here, however, we don’t always see human life and activity; there are still photos of the aspects of such life which nevertheless are a part of our very fabric which go unnoticed – like the air we breathe. And yet, how needed such air is, much like our footwear which Mr. Chow photographs, and how unconcerned we are for this necessity until it is taken away from us. Even something as discomforting as a missing shoe before we leave the house can be infuriating, and yet, why do we not say a prayer every day when our footwear and apparel are exactly where we need them to be?

This is the definitive message Mr. Chow wishes his audience to meditate upon: why do we not have more gratitude in our lives? Why do we take for granted as inhabitants of Los Angeles, for instance, being so close to the Pacific Ocean, when there are those who live their entire lives thousands of miles away from it, and will chart an expedition just to touch its waters? Why do we not appreciate more deeply the preciousness of being with our children? Of even the pregnant gestation of life itself? Just because something is ordinary and unexceptional, as is the case of the instances I just mentioned, does not make them meaningless. Indeed, the beauty of drawing out the meaning from mediocrity, as Mr. Chow does here, is to reveal that such goodness can be had so easily and abundantly by everyone with equal standing. These are universal possessions which transcend age, race, class, and gender.

And yet many in life neglect their attainment. Many concentrate their focus on negativity. Mr. Chow’s intentional inclusion of the interior view of a camera lens frame in his photographs indicates, much as a director of a film, an intention for the viewer to focus on the good things in life. And these things will always transcend the material medium which snags and weighs so many downward, toward a persistent attitude of ingratitude. Learning to need what one has, and to be grateful for what it gives, leaves a person much healthier than a person in persistently, disappointingly, pursuit of temporary bliss.

21 Jun 2016 no comments / READ MORE